Considered man’s best friend, the dog has been drawn by painters of all epochs. The interest in this animal is still alive today, and evidence of that is the privileged place in television series and commercials.
A good number of works from the past testify to its presence in the arts, such as in St. Augustine in his Study by Vittore Carpaccio. This Renaissance picture presents, at the bottom on the left, as a counterpoint to the whole scene, a seated spitz contemplating the saint.
Apparently, the illustrious Michelangelo also had a dog of this breed, and given that these two artists lived at the same time, it can be deduced that it was a fairly common breed in central and northern Italy.
The paintings of the 14th -19th centuries frequently presented greyhounds accompanying members of high society; it may be assumed that this breed was an external symbol of wealth in European courts. Anecdotes of this type help to equally establish the dissemination of other breeds in different countries and in different historical contexts.
Many artists have drawn dogs, not so much as a major theme, but accompanying the protagonist of the work. An example of this can be found in Gustave Courbet’s Self-Portrait with Black Dog, or in Dalí’s work Nude, in Contemplation, where the painter is accompanied by a dog. But it is around the 18th century when the dog became a hero of hunting in painting. The naturalist painter Eugene Petit, famous for his hunting scenes, provides an excellent example, reproducing dogs with extreme realism and great detail, usually at the crucial moment of hunting, when showing the prey.
From a morphological point of view, few animals have such a great variety of breeds with so many differences as the dog. In this book, devoted exclusively to dogs, you will find a German Shepherd drawn in different positions and at different angles, which will be the main model for the exercises, as well as other breeds selected among the most common ones.
The body is formed into a rectangle. The ears must be placed perpendicular to the upper part of the skull, round the lines up and work on the shades.
The tail and the curvature of the back are marked with a single stroke. The belly is rounded, and the three legs treading on the ground are located on the same line. The lines need to be rounded and the shades should be worked on.
The movement is given by the parallelism between the right front leg and left hind leg, and the left front leg with the right hind leg.
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